Journal of Architectural Education Interdisciplinary Reflections And
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Making Is Thinking
MAKING IS THINKING Poetic Pursuits in Architectural Design A research thesis by Cameron Walker In the MSc Architecture track at TU Delft Explore Lab 24 January 2018 Abstract I thank Peter Koorstra, my research tutor, for his kindness, when I needed This research is the culmination of philosophical and practical pursuits. It it most and the freedom to pursue my passions. is my attempt to tackle the often-held view that intellectual thought is of superior motive to making. This has been a philosophical condition since I would also like thank Robert Notrott and Hubert Van der Meel for the time of Plato, and evermore amplified by ‘thinkers’ such as Hannah their patience and understanding during the process. Arendt, who’s relatively recent work positioned that there are those that make, Animal Laborans, and those who think, Homo Faber—the former being he/she who know not what they make, and the latter being the judge of the thing made from material labour and practice.1 With such a distinction came the advancement of the intellect, and the reduction of the poet, and in this shift human beings were denied the fullness of their corporeity. Disassociated by philosophy, this research pursues that philosophy. I attempt to reposition making as very much part of the human being’s capacity for thinking, that the two were once indissociable, not just in architecture, but all thinking. That making is the crux of thinking’s origin and has the ability to be equally relevant to it’s present. Regarding the notion that ‘making is thinking’, I owe credit to Richard Sennett, who coined the term in his book The Craftsman.His term became my title, and founded the essay presented here in part I. -
Dalibor Vesely and the Primacy of Orality for Someone Fortunate
Dalibor Vesely and The Primacy of Orality For someone fortunate enough to have been Dalibor Vesely’s student, it is probably impossible not to feel that some manner of propitious destiny was at work. Dalibor’s thought always appeared to his interlocutors with the force of certainty, as the clearest embodiment of an incandescent alétheia, in the ephemeral present of seminars. These spoken words have marked and often guided my academic and research work – with a force that no one simply reading his words out of a book can comprehend. I came from Mexico City to Colchester in 1973. I was 23 years old -- with a professional degree in "architectural engineering" (basically architectural training with a technical emphasis), little professional and life experience, and yet with sincere questions about the cultural significance of architecture. Only later was I to realize that my questions, back then ill-defined in terms of an appropriate "style" or "space concepts," strongly resonated with my teacher's long-standing concerns. In my case, these questions were paradoxically propitiated by a very defective architectural education. My schooling, unabashedly functionalistic despite some expressed social interests, revealed to me the inadequacies of any sort of architectural practice that would not be able to respond to the manifold and rich cultural heritage of the hybrid hispano-meso- american cultures that constitute modern Mexico. I already suspected that a more responsible practice, however, could not be a simple formal historicism: I was committed to modernity and this created perplexing problems; so I concluded that I had to study much more seriously before I could be an architect. -
That Was Then, This Is Now and Next
INTRODUCTION NEIL SPILLER THAT WAS THEN, THIS IS NOW Neil Spiller, Site Plan – Sector of the Surrealist City, 2014 AND NEXT The drawing attempts to cartographically represent the un-representational, to map the great chunking engine of chance of the contemporary city. 6 7 Let us not mince words: the marvelous is always beautiful, The 1978 AD is also remarkable for two omissions: Daniel Bernard Tschumi, The definition of what might constitute Surrealist creative The Manhattan Transcripts, anything marvelous is beautiful, in fact only the marvelous Libeskind and John Hejduk. At the time, both were working on 1981 practice was left intentionally flexible by its founder, writer André is beautiful. iconic, theoretical and, I would argue, Surrealist-inspired projects. Breton, and the Parisian Surrealist Group, from its birth in the early Tschumi’s preoccupations with the event, the point of view 1 — André Breton, ‘Manifesto of Surrealism’, 1924 Hejduk was embarking on creating a series of ‘Masque’ projects and urban performance would also give him a disregard for 1920s. However, later, in the early 1940s, Breton began asking (1978–89) situated in many differing city locations. These sought the traditional protocols of architectural drawings and provoke the group to research the notion of the ‘Great Transparents’. He him to seek alternative methods of choreographing other The title and theme of this edition of AD was initially suggested to distil the essence of place, its genius loci and the rituals and architectural experiences in the city, resulting in his seminal wondered whether there were mythic, invisible, multidimensional by my realisation that 2018 would be the 40th anniversary of the day-to-day activities of a city’s occupants in eloquent, archetypal, book The Manhattan Transcripts. -
Architecture and the Genius of Place Context
PRIMERS Context PRIMERS Context Architecture and the Genius of Place ERIC PARRY To A. A. P. and I. M. P. © 2015 John Wiley & Sons Ltd Registered office John Wiley & Sons Ltd, The Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, United Kingdom For details of our global editorial offices, for customer services and for information about how to apply for permission to reuse the copyright material in this book please see our website at www. wiley.com. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs and Patents Act 1988, without the prior permission of the publisher. Wiley publishes in a variety of print and electronic formats and by print-on-demand. Some material included with standard print versions of this book may not be included in e-books or in print-on- demand. If this book refers to media such as a CD or DVD that is not included in the version you purchased, you may download this material at http://booksupport.wiley.com. For more information about Wiley products, visit www.wiley.com. Designations used by companies to distinguish their products are often claimed as trademarks. All brand names and product names used in this book are trade names, service marks, trademarks or registered trademarks of their respective owners. The publisher is not associated with any product or vendor mentioned in this book. Limit of Liability/Disclaimer of Warranty: While the publisher and author have used their best efforts in preparing this book, they make no representations or warranties with respect to the accuracy or completeness of the contents of this book and specifically disclaim any implied warranties of merchantability or fitness for a particular purpose. -
Towards the Poetic by Noel Jonathan Brady Diploma In
Towards the Poetic by Noel Jonathan Brady Diploma in Architecture Dublin Institute of Technology Bachelor of Science (Arch.) Dublin University Eire Submitted to the Department of Architecture in partial fulfillment of the requirements of the degree Master of Science in Architecture Studies at the Massachusetts -- Institute of Technology. June 1989 Noel Jonathan Brady 1989. All rights reserved. The author hereby grants to M.I.T. permission to reproduce and to distribute publicly copies of this thesis document in whole or in part. Signature of the author Noel J. Brady Department of Architecture. May 10 1989 Certified by Imre Halasz Professor of Architecture. Thesis Supervisor. Accepted by Julian Beinart Chairman, Departmental Committee for Graduate Students. Room 14-0551 77 Massachusetts Avenue Cambridge, MA 02139 Ph: 617.253.2800 MITLibraries Email: [email protected] Document Services http://Iibraries.mit.edu/docs DISCLAIMER OF QUALITY Due to the condition of the original material, there are unavoidable flaws in this reproduction. We have made every effort possible to provide you with the best copy available. If you are dissatisfied with this product and find it unusable, please contact Document Services as soon as possible. Thank you. The images contained in this document are of the best quality available. Towards the Poetic by Noel Jonathan Brady Submitted to the Department of Architecture on May 10, 1989 in partial fulfillment of the requirements for the Degree of Master of Science in Architecture Studies. ABSTRACT Born out of a concern for the world, this philosophy of artifact makes a case for a particular way of making. It is a search for things which mediate between ourselves and the earth. -
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INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. ProQuest Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 ® UMI STANDING IN HUMILITY Mijanou Gravelle A thesis submitted to The Faculty of Graduate Studies and Research In the partial fulfillment of the requirements For the Degree of Master of Architecture Carleton University, School of Architecture Ottawa, Ontario, Canada © 2007, Mijanou Gravelle Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 978-0-494-36839-8 395 Wellington Street 395, rue Wellington OttawaONK1A0N4 OttawaONK1A0N4 -
Object Oriented Ontology Versus New Materialism
Neil Leach Digital Tool Thinking: EGS/Tongji/FIU Object Oriented Ontology versus New Materialism ABSTRACT Within contemporary philosophy, two apparently similar movements have gained attention recently, New Materialism and Object Oriented Ontology. Although these movements have quite distinct genealogies, they overlap on one key issue: they are both realist movements that focus on the object. In contrast to much twentieth-century thinking centered on the subject, these two move- ments address the seemingly overlooked question of the object. In shifting attention away from the anthropocentrism of Humanism, both movements can be seen to subscribe to the broad principles of Posthumanism. Are these two movements, however, as similar as they first appear? And how might they be seen to differ in their approach to digital design? This paper is an attempt to evaluate and critique the recent strain of Object Oriented Ontology and question its validity. It does so by tracing the differences between OOO and New Materialism, specifically through the work of the neo-Heideg- gerian philosopher Graham Harman and the post-Deleuzian philosopher Manuel DeLanda, and by focusing on the question of the ‘tool’ in particular. The paper opens up towards the question of the digital tool, questioning the connection between Object Oriented Ontology and Object Oriented Programming, and introducing the theory of affordances as an alternative to the stylistic logic of ‘parametricism’ as a way of understanding the impact of digital tools on architectural production. -
Amy Catania Kulper Curriculum Vitae
1 Amy Catania Kulper Curriculum Vitae Assistant Professor of Architecture Taubman College of Architecture + Urban Planning The University of Michigan tel: 323.804.5434 [email protected] Education: 2008 Ph.D. in the History and Philosophy of Architecture, Cambridge University, Cambridge, UK. 1993 M.Phil. in the History and Philosophy of Architecture, Cambridge University, Cambridge, UK. 1990 M.Arch. The University of Pennsylvania, Graduate School of Fine Arts, Philadelphia, PA. 1986 B.A. Franklin and Marshall College, Lancaster, PA. 1985 Institute for Architecture and Urban Studies, New York, NY. Academic Appointments: 2006– Present Assistant Professor of Architecture, University of Michigan, Taubman College of Architecture and Urban Planning, Ann Arbor, MI. 2004–2005 Lecturer, Southern California Institute of Architecture, Los Angeles, CA. 2000–2003 Lecturer, UCLA, Department of Architecture, Los Angeles, CA. 1996 Visiting Faculty Member, University of Pennsylvania, Graduate School of Fine Arts, Philadelphia, PA. 1993–1995 Supervisor, Department of Architecture, Cambridge University, Cambridge, UK. Doctoral Dissertation: 2007 The Ambiguity of Immanent Nature and Its Manifestations: The Contribution of Victor Horta (2007) Supervisor: Dr. Dalibor Vesely, Cambridge University M.Phil. Dissertation: 1993 The Architecture of Earth Art (1993) Supervisor: Dr. Dalibor Vesely, Cambridge University TAUBMAN COLLEGE OF ARCHITECTURE + URBAN PLANNING | THE UNIVERSITY OF MICHIGAN | 2000 BONISTEEL BOULEVARD | ANN ARBOR, MI 48109 2 Professional Affiliations: 2012–2015 Editorial Advisory Board for Architecture and Culture the new journal of the Architectural Humanities Research Association, UK 2011–2015 Design Editor for the Journal of Architectural Education 2010–2011 Member of the Journal of Architectural Education’s Editorial Board 2010–2011 Member of the Design Committee for the Journal of Architectural Education Honors, Awards, Grants: 2014 Received the Donna M. -
Alexandra Stara School of Architecture and Landscape, Kingston University London
Architecture + Phenomenology Conference Kyoto Seika University, Kyoto, Japan 26-29 June 2009 Phenomenology as Architectural Praxis: Two Houses in East Anglia Alexandra Stara School of Architecture and Landscape, Kingston University London Introduction Maurice Merleau-Ponty, in his Preface to the Phenomenology of Perception, reminds us that: “The world is not what I think, but what I live through”, at the same time as: “Because we are in the world, we are condemned to meaning, and we cannot do or say anything without its acquiring a name in history.”1 These two dimensions of embodied experience, on one hand, and historically conditioned meaning on the other, have remained in varying degrees of tension and harmony at the heart of architectural making. Contemporary architecture faces a great challenge in the quest for a relevant, meaningful and ethical practice, at a time when the perceived division between dimensions of existence seems to be at its most extreme. Phenomenology and hermeneutics are gaining ground as an intellectual framework and sensibility for addressing and reconciling this division. In this paper, a discussion of the idea of praxis and its relationship to poesis will be followed by an exploration of the two dimensions of our being highlighted in the two opening quotes by Merleau-Ponty, and their implications for architecture. The second part of the paper will discuss work from two young British practices, Lynch Architects and Dow Jones Architects. While sharing an understanding of their architecture as poetic disclosure of space grounded in the continuity of tradition, it will be argued that the two practices accentuate different aspects of this process through their projects, which will be presented here in the terms set out at the beginning of the paper. -
Amy Catania Kulper Curriculum Vitae
| 1 Amy Catania Kulper Curriculum Vitae Assistant Professor of Architecture Taubman College of Architecture + Urban Planning The University of Michigan tel: 323.804.5434 [email protected] _ Education: 2008 Ph.D. in the History and Philosophy of Architecture, Cambridge University, Cambridge, UK. 1993 M.Phil. in the History and Philosophy of Architecture, Cambridge University, Cambridge, UK. 1990 M.Arch. The University of Pennsylvania, Graduate School of Fine Arts, Philadelphia, PA. 1986 B.A. Franklin and Marshall College, Lancaster, PA. 1985 Institute for Architecture and Urban Studies, New York, N.Y. _ Academic Appointments: 2006– Assistant Professor of Architecture, University of Michigan, Taubman College, Ann Arbor, MI. 2004–2005 Lecturer, Southern California Institute of Architecture, Los Angeles, CA. 2000–2003 Lecturer, UCLA, Department of Architecture, Los Angeles, CA. 1996 Visiting Faculty Member, University of Pennsylvania, Graduate School of Fine Arts, Philadelphia, PA. 1993–1995 Supervisor, Department of Architecture, Cambridge University, Cambridge, UK. _ Doctoral Dissertation: The Ambiguity of Immanent Nature and Its Manifestations: The Contribution of Victor Horta (2007) Supervisor: Dr. Dalibor Vesely, Cambridge University _ M.Phil. Dissertation: The Architecture of Earth Art (1993) Supervisor: Dr. Dalibor Vesely, Cambridge University _ Professional Affiliations: 2012–2015 Editorial Advisory Board for Architecture and Culture the new journal of the Architectural Humanities Research Association 2011–2012 Design Editor for the -
UNIVERSITY of CALIFORNIA Los Angeles Prolegomena to a Poiesis
UNIVERSITY OF CALIFORNIA Los Angeles Prolegomena to a Poiesis of Architectural Phenomenology A thesis submitted in partial satisfaction of the requirements for the degree Master of Arts in Architecture by Joseph Anthony Ebert 2013 © Copyright by Joseph Anthony Ebert 2013 ABSTRACT OF THE THESIS Prolegomena to a Poiesis of Architectural Phenomenology by Joseph Anthony Ebert Master of Arts in Architecture University of California, Los Angeles, 2013 Professor Michael Osman, Co-Chair Professor Sylvia Lavin, Co-Chair The presence of phenomenology in the discipline of architecture has been tenuous. Often, it is essentialized as a philosophical method that ‘brackets’ out theory, history, and intellection, all for the sake of achieving ‘authentic’ knowledge through conscious intention. Its traces are often vague and disconnected, based on a system of philosophy that claims to produce a universal epistemology for human existence and experience. As it concerns architecture, phenomenology has fluctuated as a theory and an epistemology. More often than not, it has failed to produce a concrete and lasting discourse in the field of architecture. It is the task of this thesis to produce a comprehensive historiography of architectural phenomenology, during the 20th century, from its prehistory to its contemporary presence. To perform this historiography I will examine three key phenomenologists, Edmund Husserl, Martin Heidegger, and Maurice Merleau-Ponty, to determine their influence on the discipline of architecture. This historiography ii will then be projected through the work of four 20th/21st century architects to trace the evolution of phenomenology in the discipline of architecture. However, it must be noted that such a tracing is projective; the non-linear nature of phenomenology in the discipline proves the difficulty in finding a clear line of historical trajectory. -
Spring/Summer 2019 Hello
Spring/Summer 2019 Hello Welcome to the 2019 catalogue for Artifice Press. We are delighted to offer a fascinating selection of new titles produced in close collaboration with some of the biggest and most emerging names of the architecture and design world. It has been an eventful yet rewarding year for Artifice – in February 2018, we came under the ownership of the SJH Group, a world-leading creative media group. This partnership has put us in an even stronger position, bringing more scope and enabling us to publish a wider selection of beautiful books to a consistently high standard. We are extremely proud of the titles we present on the following pages of this catalogue, which explore a variety of subject matters such as architecture as a discipline and its relation to the evolution of mankind, alternative ways of developing new cities, and how design can impact people’s lives. We have also worked closely with an international selection of revered architecture practices and institutions to produce beautifully illustrated monographs, which not only characterise their work and the various disciplines adopted, but also document the effect this is having on communities around the world. We are excited about the future for Artifice Press, what this offers for us, and also for our publishing partners. Read on and enjoy. NEW AND UPCOMING TITLES Image from The Evolution of a Building Complex: Louis I. Kahn’s Salk Institute for Biological Studies THINKING OUTSIDE THE BOX TELEVISION CENTRE REIMAGINED ARCHITECTS: AHMM During Britain’s post-war period, Television Centre was conceived and built as the new headquarters for the BBC.